Rosa María Juana Martínez Suárez (born 23 February 1927), known by her stage name Mirtha Legrand, is an Argentine performer and TV moderator who has worked in Argentina and Spain, twin sister of resigned on-screen character Silvia Legrand. With a 72 year profession, Legrand is a standout amongst the most well known diversion figures in Argentina.
Her first driving part on film was at age 14. At present she keeps on working and is viewed as the most critical star in Argentinian the entertainment biz alongside Susana Gimenez. Mirtha is viewed as a standout amongst the most vital Latin American TV ladies.
Her TV show is one of the longest running TV programs in Argentina, having initially broadcast in 1968. She has put in more than 45 years on screen facilitating her television show" "Lunch with Mirtha Legrand", which gets superstars from everywhere throughout the world, including Hollywood and Europe, around a table for lunch talking about distinctive themes. In 2013, the system returned in a week by week design, which show on Sundays on América TV. She is known for her shocking essentialness, polish, and taste for adornments and high fashion.
Early life
The future Mirtha Legrand was conceived on 23 February 1927 in Villa Cañás, a town in the territory of Santa Fe found somewhere in the range of 200 kilometers (120 mi) from Rosario. Her guardians were both Spanish migrants. In 1934 her guardians isolated. Her mom migrated to Rosario to guarantee a superior instruction for her three kids, while her dad stayed in Villa Cañás.
In Rosario, Rosa María Juana and her twin sister María Aurelia took essential courses at the Municipal Theater. After the demise of their dad in 1936, the family migrated for all time to Buenos Aires, to the barrio of La Paternal. There they lived in destitution, relieved by sporadic job, until in 1939 the sisters were offered little parts in a film featuring Niní Marshall which would be discharged in 1940 under the title Hay que educar a Niní.
The Martínez sisters' next film together was Novios para las muchachas in 1941. Mirtha's first driving part came soon thereafter in Los martes, orquídeas. That year her mom would be reached by an understood film industry figure, Ricardo Cerebello, who offered to speak to the sisters. It was Cerebello who concocted the stage names Mirtha and Silvia Legrand.
The achievement of Los martes, orquídeas drove Lumiton Studios, a standout amongst the most vital studios of the time, to sign Mirtha to a five-year contract. One of the movies in which she took part amid that time was Safo, historia de una pasión, the first Argentine film from which minors were banned. Amid the same period, Mirtha and Silvia facilitated El club de la amistad for Radio Splendid.
Personal Life
In 1945 Mirtha Legrand met the French-conceived movie producer Daniel Tinayre. They were hitched on 18 May 1946, when Mirtha was nineteen years of age and Tinayre thirty-six. The youthful on-screen character, who saw her marriage as a methods by which she could escape neediness, was at that point adequately well known that Radiolandia, a tattle magazine, secured elite rights to the subtle elements of her wedding. With Tinayre she had two youngsters, Marcela Tinayre and Daniel Jr.
After her wedding came her most noteworthy parts, most quite La vendedora de fantasías (1950), coordinated by her spouse. In 1955 she showed up in El love nunca muere close by two other incredible on-screen characters of the time, Tita Merello and Zully Moreno. In 1957 she made her first passage into theater, and made her TV make a big appearance a year later with the projects M ama a M and Los enredos de Mariana, both on Canal 7. Somewhere around 1961 and 1962 she shot Bajo un mismo rostro, in which she conveyed what she thought of her as best execution. In 1965 she showed up in Con energy a rabia, the last film in which she appeared.
Early life
The future Mirtha Legrand was conceived on 23 February 1927 in Villa Cañás, a town in the territory of Santa Fe found somewhere in the range of 200 kilometers (120 mi) from Rosario. Her guardians were both Spanish migrants. In 1934 her guardians isolated. Her mom migrated to Rosario to guarantee a superior instruction for her three kids, while her dad stayed in Villa Cañás.
In Rosario, Rosa María Juana and her twin sister María Aurelia took essential courses at the Municipal Theater. After the demise of their dad in 1936, the family migrated for all time to Buenos Aires, to the barrio of La Paternal. There they lived in destitution, relieved by sporadic job, until in 1939 the sisters were offered little parts in a film featuring Niní Marshall which would be discharged in 1940 under the title Hay que educar a Niní.
The Martínez sisters' next film together was Novios para las muchachas in 1941. Mirtha's first driving part came soon thereafter in Los martes, orquídeas. That year her mom would be reached by an understood film industry figure, Ricardo Cerebello, who offered to speak to the sisters. It was Cerebello who concocted the stage names Mirtha and Silvia Legrand.
The achievement of Los martes, orquídeas drove Lumiton Studios, a standout amongst the most vital studios of the time, to sign Mirtha to a five-year contract. One of the movies in which she took part amid that time was Safo, historia de una pasión, the first Argentine film from which minors were banned. Amid the same period, Mirtha and Silvia facilitated El club de la amistad for Radio Splendid.
Personal Life
In 1945 Mirtha Legrand met the French-conceived movie producer Daniel Tinayre. They were hitched on 18 May 1946, when Mirtha was nineteen years of age and Tinayre thirty-six. The youthful on-screen character, who saw her marriage as a methods by which she could escape neediness, was at that point adequately well known that Radiolandia, a tattle magazine, secured elite rights to the subtle elements of her wedding. With Tinayre she had two youngsters, Marcela Tinayre and Daniel Jr.
After her wedding came her most noteworthy parts, most quite La vendedora de fantasías (1950), coordinated by her spouse. In 1955 she showed up in El love nunca muere close by two other incredible on-screen characters of the time, Tita Merello and Zully Moreno. In 1957 she made her first passage into theater, and made her TV make a big appearance a year later with the projects M ama a M and Los enredos de Mariana, both on Canal 7. Somewhere around 1961 and 1962 she shot Bajo un mismo rostro, in which she conveyed what she thought of her as best execution. In 1965 she showed up in Con energy a rabia, the last film in which she appeared.
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